39th Panorama of Brazilian Art: After It's All Said

Allan Weber was born in Rio de Janeiro, RJ, Brazil (1992). He is a multidisciplinary artist whose practice encompasses assemblage—creation through the joining, collage, or fitting together of pre-existing objects, not necessarily artistic—sculpture, installation, and photography. His research stems from the social and political dynamics of Rio de Janeiro and expands to global issues, incorporating the ambiguity, chaos, and violence of urban life. He uses materials and objects laden with history, transforming everyday elements into poetic and social commentary. In 2020, he founded Galeria 5 Bocas in the favela where he lives and created the Tropa da Arte team, integrating art, community, and everyday life. In 2024, he received the SEED Award (Prince Claus Fund) and completed a residency in the United Kingdom. Among his recent exhibitions, the solo show Allan Weber – Existe uma vida inteira que tu não conhece (Allan Weber – There is a whole life you don't know), at the Instituto Tomie Ohtake, São Paulo (2026), stands out. His works are part of the collections of the National Museum of Fine Arts in Rio de Janeiro and the São Paulo Museum of Art Assis Chateaubriand.

Amorí was born in Ribeirão, PE, Brazil (1995). Her practice encompasses sculpture and oil painting, with an emphasis on the repetition of forms using materials such as latex, wood, iron, and ceramics, drawing on references to rural contexts in Northeast Brazil. The artist's work articulates relationships between matter and symbolic systems, mobilizing issues related to astronomy, archaeology, and agriculture. Her works develop as sculptures, installations, and paintings that focus on the investigation of processes of accumulation, transformation, and temporality. In 2024, she held her first solo exhibition, "As the Stars Collapse," at Torre Malakoff, in Recife. In the same year, she participated in the Solar dos Abacaxis artistic residency in Rio de Janeiro, and the following year she participated in the Pivô residency in São Paulo.

Ana Cláudia Almeida Born in Rio de Janeiro, RJ, Brazil (1993). Her work is materially established through the manipulation of paints, plastics, oil sticks, fabrics, and images. Moving between sculpture and painting, her work articulates fragmented, yet dynamic, surfaces and accumulative structures. The layers of materials and gestures allude to the formation of time, memory, and experience, while the superimpositions of solids and voids evoke symbolic dimensions linked to practices and rituals. Among her recent exhibitions, the following stand out: Tadasi and Ana Claudia Almeida: A Joyner/Giuffrida Visiting Artists Program, at the Nevada Museum of Art, USA (2024), and Wasapindorama, at the Niterói Art Foundation (2018). Her works are part of the collections of the Rio Art Museum, Inhotim Institute, Museum of Contemporary Art of Bahia and the Sesc Collection of Brazilian Art.

André Felipe Cardoso was born in Minaçu, GO, Brazil (1997). He is a descendant of the Quilombo São Félix, GO, Brazil, and currently lives and works in the Quilombo Alto Santana, GO, Brazil. In recent years, he has been developing research around knowledge linked to the land and rural life, understanding this knowledge as methods of permanence and displacement as paths of pedagogical and creative development. He works mainly with collage and its unfolding, treating paper as a surface for marking time and events in the process of creating landscapes. With attentive observation as the guiding principle of his artistic production, he is interested in manual processes and the possibilities of resignifying pre-existing images. His works are part of the collections of the Museum of Sexual Diversity in São Paulo and the Museum of Fine Arts in Anápolis.

Anti Ribeiro was born in São Cristóvão, SE, Brazil (1995). She lived for 7 years in the city of Recife, PE, Brazil, where she strengthened her artistic practice. She holds a Bachelor's degree in Cinema and Audiovisual from the Federal University of Pernambuco, and her practice integrates research, creation, and education. Focusing on fiction and the production of imaginaries, based on sensory and narrative provocations, her artistic production chooses sound as a trigger for experiences. Her compositions and sonic productions are often worked on as expanded experiences, moving towards installation and sculpture. A collaboration with the artist Jota Mombaça resulted in the exhibition of works in several international exhibitions, such as the Venice Biennale in 2022, where they presented the performance *In The Tired Watering*. She has participated in artistic residencies at Oficina Francisco Brennand, Recife; Pivô Pesquisa, São Paulo; Solar dos Abacaxis, Rio de Janeiro; and Bolsa Pampulha, Belo Horizonte.

Arorá was born in Rio de Janeiro, RJ, Brazil (2000). From a perspective of co-creation with materials, the artist sees them as both a starting point and an end point in the construction of desires and events. In her practice, she works with techniques such as oil on canvas, colored pencil on paper, and also handles materials such as iron, silver, pearl, and construction waste. The artist encourages a careful approach from the viewer to her work, a relationship marked by insinuation and mystery. Among her recent exhibitions, highlights include Abertura, at the Quadra gallery, São Paulo (2025), Os suspenses, at Galpão Bela Maré, Rio de Janeiro (2023), and Depois da estrela perdida, Quadra, Rio de Janeiro (2023). Her work is part of institutional collections, such as the Calmon-Stock Collection in Rio de Janeiro.

Bárbara Banida was born in Fortaleza, Ceará, Brazil (1996). A doctoral candidate in Arts at the Federal University of Ceará, where she also completed her master's degree in Creative Processes in Contemporary Art, Bárbara focuses her artistic practice mainly on glazed ceramics and painting, in addition to working as a curator. The artist works with ceramics based on notions of speculative ecology, visionary fiction, and alien territories. Her pieces emerge as "creature-works" of Erotar, a fictional and regenerative world-ecosystem where matter, desire, and imagination operate together. She develops hybrid beings that inhabit fabulous landscapes, rejecting narratives of collapse and insisting on regeneration as a force of continuity; the glaze thus acts as a kind of living membrane where brilliance, density, and flow construct an unstable skin. The artist was nominated for the PIPA Prize in 2026, was a finalist for the Selo Mandacaru Prize, and winner of the Labverde Prize at ArtPE in 2025.

biarritzzz was born in Fortaleza, Ceará, Brazil (1994). She holds a degree in Social Sciences from the Federal Rural University of Pernambuco (2019) and is currently pursuing a master's degree in Visual Arts at the Federal University of Bahia. An anti-disciplinary transmedia artist, she investigates languages, codes, and media. She believes in magic and low resolution as important counter-narratives for experiencing the current cosmological dispute of realities. Her practice unfolds between a search for dismantling formats, genres, and expectations, as well as developing research on Meme Pedagogies and Countermodern Antifuturisms as poetic and political tools. Recent exhibitions include the 14th Mercosul Biennial, Porto Alegre (2025); BANTU, Rio Art Museum; and Arts of Africa, MASP (2025).

Carolina Cordeiro was born in Belo Horizonte, MG, Brazil (1983). She holds a doctorate from the School of Communication and Arts at USP and a master's degree from the School of Fine Arts at UFRJ. She began her artistic practice with drawing, later exploring other languages ​​such as photography, appropriation of objects and sculptural processes, video, and installation. Using everyday elements and pieces, the artist works with synthetic operations that carry a great poetic charge. Among the procedures and materials, those related both to the domestic universe, such as fabric and sewing, and to disadvantaged and peripheral contexts, such as the zinc present in the vernacular architecture of the shacks in the favelas, are reiterated. In 2021, the artist founded the Galeria de Artistas, a collective project created by and for artists as a means of experimenting with new forms of market insertion. In 2025, she won the Ad Occhi Chiusi – Fondazione Merz award for her project at the Artissima Fair in Turin, Italy.

Caroline Ricca Lee was born in São Paulo, SP, Brazil (1990). Her work is dedicated to the archiving, memory, and fiction of ancestral narratives of Asian diasporas in Brazil. Through sculpture, installation, text, performance, and video, she works with an unofficial memory preserved in personal archives, ancestral memorabilia, family photographs, and corporeal cartographies. She was an artist-in-residence at Pivô Pesquisa, Brazil (2024), IASPIS, Sweden (2025), La Becque, Switzerland (2025), and Jan van Eyck Academie, Netherlands (2026). In 2024, she participated in the exhibitions Recollection of Dreams, at Tube Cultural Hall, Milan, Italy, and MOTHER/Land, at CCSP – Centro Cultural São Paulo. Her work is part of international collections such as the Fondazione Oelle Collection, Sicily, Italy, and the Renato Alpegiani Collection, Turin, Italy.

Chacha Barja was born in Belém, PA, Brazil (1990). A graduate in Product Design, Barja has built a career that spans cities such as Belém, Recife, Rio de Janeiro, and São Paulo, incorporating the experiences of these places into the direct relationship between body and matter. He dedicates himself especially to ceramics, structuring his production around clay as a field of thought that permeates both sculpture and painting. Actions such as suspension, falling, explosion, impact, and melting guide the modeling of clay, alluding to the unstable physical states of different corporealities, thus investigating the constitution of volumes based on the relationships between matter, body, and space. Among his recent exhibitions, the exhibition "The Drama of Form," at the Clarabóia gallery in São Paulo (2026), stands out.

Darks Miranda was born in Fortaleza, Ceará, Brazil (1985). In her research and artistic production, she combines different languages, such as video, sculpture, performance, and installation. She uses montage as both a procedure and a language in itself, investigating the imaginary of 20th-century science fiction to reflect on the failure of the Western project of modernization and its notions of future and progress. In 2020, she created commissioned works for the Instituto Moreira Salles and The Swiss Arts Council Pro Helvetia, and in 2022 she participated in the FAAP Artistic Residency. In 2025, she participated in the 14th Mercosul Biennial and was one of the artists awarded the PIPA Prize. Among other recent exhibitions in which she has participated, highlights include Cytoplasmic Opera, Oscar Niemeyer Museum, Paraná (2022); Tropicália and Beyond: Dialogues in Brazilian Film History, Tate Modern, London, United Kingdom (2017); and Tropicália: Yesterday as Today, Cinematheque Brasileira, São Paulo (2017).

Emer Freire was born in São Paulo, SP, Brazil (1995). He graduated in Visual Arts (2021) and is pursuing a Master's degree in Visual Poetics at the University of São Paulo. He investigates materiality through experimental processes, articulating industrial and organic materials in sculptures, paintings, and hybrid installations that challenge the boundaries between art fields. His practice traverses ideas of transformation, contamination, and mutualism, giving rise to ambiguous forms that leave traces of doubt as to their nature. Through an alchemical process, he constructs poetic territories in which times, materials, and ruins intertwine in continuous states of metamorphosis. Among his recent solo exhibitions, We Flee Toward the Thing We Try to Escape (2024), at the Fabrica Research Center, Italy, stands out, the result of a residency carried out in the space.

Fykyá Pankararu was born in São Paulo, SP, Brazil (1999). Since 2003, she has resided in the Pankararu indigenous territory in the municipality of Tacaratu, in the interior of Pernambuco. Her name, "Fikyá," is a word of ancestral origin from her people's ancient mother tongue, meaning "chameleon." In her trajectory and production, she considers herself a multifaceted artist, working as an art educator, singer, composer, performer, screenwriter, cultural producer, activist, ceramist, and director of the musical theater group "Coco das Antigas." She participated in the collective exhibition Invenção dos Reinos, at the Francisco Brennand Workshop, Recife (2024), with works in ceramics, some with painting on white clay, used particularly by the Pankararu people in their forms of graphic art.

Gilson Plano was born in Goiânia, GO, Brazil (1988). He works from the idea of ​​sculpture, developing works and research at the intersection of objects, materials, actions, and narratives. His artistic production investigates the imaginary related to form and thought about Brazil, accompanied by ideas about weight, fiction, and enchantment. The notions of structure and disappearance guide his sculptures and proposals, making use of materials from civil construction and historical buildings. He has participated in several group exhibitions in institutional spaces, and among his recent exhibitions, highlights include *Sem Obstáculo*, at Auroras, São Paulo (2025), *Misterioso Laço*, at Quadra Galeria, São Paulo (2024), and *Como levantar tempestades*, at Centro Cultural São Paulo (2021). His works are part of public and private collections.

Helô Sanvoy was born in Goiânia, GO, Brazil (1985). She holds a master's degree from the School of Communication and Arts at the University of São Paulo and a bachelor's degree from the Faculty of Visual Arts at the Federal University of Goiás. She has been a member of the performance collective Grupo EmpreZa since 2011. Her research focuses on experimentation and the combination of diverse materials, as well as experimentation with processes, languages, and media. She has held solo exhibitions at the Museum of Contemporary Art of Goiás (2014), the Casa de Cultura da América Latina at the University of Brasília (2014), and the Museum of Visual Arts at Unicamp (2023). She participated in the 30th Exhibition Program of the São Paulo Cultural Center (2020) and the Paço das Artes Project Season (2022). She was awarded the PIPA Prize (2023) and the ABCA – Regional Highlights: Central-West Region (2022). Among the recent exhibitions in which she participated, highlights include Direito à forma, Instituto Inhotim (2023); DOS BRASIS: Arte e Pensamento Negro, Sesc Belenzinho (2023); and the 12th Mercosul Biennial (2020).

Iagor Peres was born in Rio de Janeiro, RJ, Brazil (1995). In his sculptures and installations, Peres is guided by the desire to transform the notion of "thing" through a process of recategorizing matter. Based on the relationships established between the work, the exhibition environment, and the public, the artist directs his attention to the reactions of the interaction between matter, humidity conditions, temperature, and the possible meanings of these factors. The material configurations assumed in his works refer to questions about the mechanisms that produce social differences through a white-Western thought, which affects racialized existence. His experience in dance is also reflected in the emphasis given to the body and its dynamics of appearing and leaving the space. Among his recent exhibitions, highlights include Entresól, at the Pols cultural space, Valencia, Spain (2024), and Adiar a noite, at the Futuros – Arte e Tecnologia cultural space, Rio de Janeiro (2024).

Josi was born in Itamarandiba, MG, Brazil (1983). She spent her childhood in Carbonita, in the Jequitinhonha Valley, MG, from where she says she carries "a dust of pequi fruit and a pitch dripping with prayers". She holds a Bachelor's degree in Letters from the Federal University of Minas Gerais and in Fine Arts from the State University of Minas Gerais. Her works are born from knowledge that permeates and awakens in manual work, intertwining gestures of painting, boiling, bleaching, sorting, kneading, with movements that traverse clays, bean broths, roots, barks, saps, seeds, among other elements. She was awarded the PIPA Prize in 2022 and the 8th Arts Prize of the Tomie Ohtake Institute, Women's Edition, in the same year. Among her recent exhibitions, highlights include grains of water, drops of earth, at the Mendes Wood DM gallery, New York, USA (2024), and Quarar reverso, at the Piccola Galeria Casa Fiat de Cultura, Belo Horizonte (2022).

Jota Mombaça was born in Natal, RN, Brazil (1991). She is an interdisciplinary artist whose work derives from poetry, critical theory, and performance. The sonic and visual matter of words plays an important role in her practice, as does the resilience, capacity for memory, and ephemerality of materials. Her work is generally related to anti-colonial critique and gender disobedience. Through performance, visionary fiction, and situational strategies of knowledge production, the artist seeks to "rehearse the end of the world as we know it and the figuration of what will come after we dislodge the modern colonial subject from its podium." In 2020, Mombaça received the Pernod Ricard scholarship in Paris, France, and the position of writer-in-residence at Nottingham Contemporary, United Kingdom. She is the author of the book THEY WON'T KILL US NOW, published in Portugal by EGEAC (2019) and in Brazil by Editora Cobogó (2021).

Kuenan Mayu was born in the Tikuna Feijoal Indigenous Territory, in the municipality of Benjamin Constant, AM, Brazil (2003). She is a descendant of the Tikuna (Magü'ta) and Tariana peoples of the Amazon. In her work, she investigates indigenous modes of existence and spirituality based on traditional knowledge, with an emphasis on the living materials of the forest, such as tururi—the inner bark of a sacred tree that, in her work, becomes a support for inscription. Through languages ​​that traverse painting, installation, performance, and orality, the artist articulates processes of transmutation, understanding art as a vehicle for healing, protection, and re-enchantment of the world. Among the recent exhibitions in which she participated, highlights include Delírio Tropical, at the Pinacoteca do Ceará, Fortaleza (2024), and the 2nd Bienal das Amazônias: Verde-distância, at the Centro Cultural Bienal das Amazônias, Belém (2025).

Lia D'Castro was born in Martinópolis, SP, Brazil (1978). She works across various fields of visual arts, acting as an artist, mediator in exhibition spaces, researcher, and lecturer, having given lectures in the cities of Vevey and Lausanne, Switzerland. Among other projects, she dedicates herself to the project *Seus filhos também praticam* (Your children also practice), in which she uses prostitution as a tool for work and investigation, approaching young men between 18 and 25 years old, white, wealthy, and self-declared heterosexual. This research seeks to cultivate dialogue and listening within the domains of race, class, gender, and sexuality, central themes in her artistic practice. Among her recent solo exhibitions, *Lia D Castro: em todo e nenhum lugar* (Lia D Castro: Everywhere and Nowhere), MASP (2024), stands out.

Lita Cerqueira was born in Salvador, Bahia, Brazil (1952). As a professional photographer, she is widely recognized for documenting Brazilian Black culture. Having begun her work at the age of nineteen as a self-taught artist, she worked in photo labs and press photography from the 1970s onwards. Professional recognition came with the exhibition "Popular Festivals of Bahia and Architecture in the Historic Center of Salvador" in 1976. Her work documents, in addition to themes related to Black culture, her experience with the Tropicália movement and artists such as Gilberto Gil, Maria Bethânia, Caetano Veloso, and Gal Costa. She has also had significant roles in cinema, as a still photographer and in some films as an actress, alongside directors such as Glauber Rocha, Neville de Almeida, Nelson Pereira dos Santos, among others. She participated in Revista Zum #20, from Instituto Moreira Salles (2021), and among her recent exhibitions, highlights include Ofício: Luz: Lita Cerqueira: Direito de Olhar, at Sesc Pompéia, São Paulo (2026), and A Fotografia como Eu Sou, at Pinacoteca de São Paulo (2009).

Marcelo Conceição was born in Niterói, RJ, Brazil (1966). A self-taught artist, born in the Niterói neighborhood of Caramujo, he worked as a porter at fairs, a bricklayer, a street vendor, and defines himself as an "urban prospector," transforming the materials he collects in his wanderings into ingenious and unusual three-dimensional structures. After a personal tragedy in the early 2010s, Conceição recounts that he "went looking for answers in the streets of Rio de Janeiro," where he remained for many years. The artist believes that it was in the streets that he rebuilt himself, developing his artistic practice through his power of observation and his positive attitude in the face of difficulties. Among his recent exhibitions, highlights include Transvendo o Mundo, at the Janete Costa Museum, Niterói (2023), Marcelo Conceição: Deslocamentos e Travessias, at the Museu do Pontal, Rio de Janeiro (2023–24), and Ensaio Aberto, at the Tropigalpão project space, Rio de Janeiro (2025).

Moacir (Moacir Soares de Faria) was born in Alto Paraíso de Goiás, GO, Brazil (1954) and died in the same place (2025). Living in the Brazilian countryside, Moacir created unique, fantastical, and disconcerting works, seeking to reveal the forces of the unconscious. His imagination blends the sacred, the profane, the human, fauna and flora, treating sexuality and violence in an unusual way and creating a universe where nature and culture intertwine. Also known as Nô, of Quilombola origin and inhabitant of the Cerrado of Chapada dos Veadeiros, Moacir worked as a miner before being recognized as an artist. He began drawing on the rocks of the landscape before possessing artistic materials. By the end of the 1980s, he had already developed his repertoire and technique, producing for more than three decades mainly with crayons on paper. His works and trajectory gained national prominence with the documentary Moacir: arte bruta (2005), directed by Walter Carvalho.

Nazas (Thays Chaves) was born in Ourém, PA, Brazil (1997). She is a visual artist, researcher, and art educator, developing a multidisciplinary practice that, since 2017, has studied the romantic aspirations, visual aesthetics, and cultural technologies of tecnobrega—a popular musical and visual culture in the North region of Brazil. The artist reinterprets the expressive codes and symbols of this universe, its excesses, its sentimentality, and its luminous visual language, transforming them into reflections on identity, affection, and belonging. Her work frequently expresses an intensified romanticism, in which language, memory, and emotion intertwine through experimental forms and texts. In 2025, she was nominated for the PIPA Prize. Among her recent exhibitions, noteworthy are the group exhibitions Complexo Brasil, in Lisbon (2025), and Insurgências e o Contraponto do longe, at the Centro Cultural Bienal das Amazônias, Belém (2024).

Osvaldo Gaia was born in Belém, PA, Brazil (1961). His artistic training developed through research and experimentation within the Amazonian universe, using elements that identify as sculptural structures. Gaia is conceptually interested in social, architectural, and economic issues related to the flows, origins, identities, and tools of riverside life, from which he draws his inspiration. His artistic production ranges from small objects and sculptures to installations and urban interventions. Among his recent exhibitions, highlights include the 2nd Amazon Biennial: Verde-distância, at the Centro Cultural Bienal das Amazônias, Belém (2025), and the solo exhibition Transcendências, at the Museu de Arte Moderna Aloísio Magalhães, Recife (2024). His work is part of institutional collections such as the Museu de Arte de Belém, the Museu de Arte de Santa Catarina, and the Museu de Arte do Rio.

Oto Ferreira was born in Serrinha, Bahia, Brazil (1995). He is an artist, luthier, and violinist, with research focused on the use of wood and ancestral crafts. In his practical and ideological dimension, he uses materials from pruning, exchanges, and constructions, to which he restores rhythm, color, and texture. His sculptures, combined with painting, form abstract landscapes, motivated by daily life and Afro-Brazilian sacred themes. In 2025, he completed an artistic residency at Domo Damo, in São Paulo. Among his recent exhibitions, highlights include the solo exhibition Àjò, at Galeria Verve, São Paulo (2025), and the group exhibitions Novo Lote, at the Museum of Contemporary Art of Bahia, Salvador (2024), and Encruzilhada, at the Museum of Modern Art of Bahia, Salvador (2022).

Rafael Chavez was born in São Mamede, formerly a district of Santa Luzia, Paraíba, Brazil (1996). Working between the interior of Paraíba and São Paulo, Rafael Chavez is the great-granddaughter of a potter and a multi-artist. Her research stems from heat and fire as a creative trigger and principle of transformation, developing her own cosmic faith and articulating time, realization, memory, displacement, and crossings. Starting with the construction of her own wood-fired kiln in the Caatinga, she develops ceramic sculptures and paintings that explore the tension between permanence, combustion, and mystery, bringing her practice closer to the archaeological enigmas of the Paraíba Caatinga.

Rayana Rayo was born in Recife, Pernambuco, Brazil (1989). Originating from deeply personal processes, her paintings evoke landscapes or plant organisms, constituting a unique biome that responds to sensitive experiences and subjective elaborations. The artist starts from fundamental forms and muted colors to create fabulations, from which emerge forms that allude to mountains, islands, aquatic and abyssal landscapes, as well as plants, animals, and other beings. She considers her painting an instrument for materializing memories, desires, and everyday experiences, while simultaneously establishing a dialogue with the artistic tradition of Pernambuco. Among her recent exhibitions, noteworthy are the group shows *The Earth, the Fire, the Water and the Winds – Towards a Museum of Wandering* with Édouard Glissant, at the Tomie Ohtake Institute, São Paulo (2025), and *Invention of Kingdoms*, at the Francisco Brennand Workshop, Recife (2023). His work is part of the collection of the Pinacoteca de São Paulo and the REC Cultural, Recife.

Rodrigo Cass was born in São Paulo, SP, Brazil (1983). His work engages with the Brazilian constructivist tradition through a formal vocabulary that alludes to the artistic experiments of the 1960s and 1970s. He is interested in the intersections and fractures of the pictorial plane, causing the surface to acquire volume in canvases, reliefs, and videos. Concrete, fiberglass, and linen, colored with tempera, are some of his most frequently used materials, and his video works, projected onto sculptural objects, merge the physicality of performance with pictorial logic, in which color and texture also appear as constructive elements of space. Among his recent exhibitions, highlights include Rodrigo Cass: A Joyner/Giuffrida Visiting Artist Program, at the Nevada Museum of Art, USA (2025), and his participation in the 13th Mercosul Biennial, Porto Alegre (2025). His work is part of institutional collections such as the Centre Georges Pompidou, Paris, France; Thyssen-Bornemisza Art Contemporary, Vienna, Austria; Museum of Modern Art of São Paulo, and Pampulha Art Museum, Belo Horizonte.

Rose Afefé was born in Varzedo, Bahia, Brazil (1988). Drawing on childhood memories, the artist works with diverse media, including installation, painting, and photography. In 2018, she began constructing Terra Afefé, a human-scale micro-city built with earth using the adobe technique (raw clay brick) and painted with lime. Located in the rural area of ​​Ibicoara, Bahia, in the Chapada Diamantina region, Terra Afefé presents itself as a place of encounter and coexistence, connecting art and life and fostering local perspectives to enhance the knowledge of the territory. Observation and interaction with nature are employed to guide more vibrant and spontaneous life productions.

Thaís Muniz was born in Feira de Santana, Bahia, Brazil (1985). She holds a Master's degree in Art and Collaborative Research from the Dún Laoghaire Institute of Art, Design and Technology, Dublin, Ireland. Her practice spans multiple languages ​​to investigate the intersections between inherited and acquired identities, memory, transit, and inner love as a methodology of radical care. Through a critical engagement with the cultural geography of the places she traverses, she directs her work towards the community and unfolds it into collective learning processes, such as workshops, performances, installations, and films. Her production also encompasses photography, celebrations, sculptures, and activations, incorporating memorabilia and symbolism. Recent exhibitions include the solo exhibition *Rites of Care, Curse and Comfort* at the Sirius Arts Centre, Ireland (2024), and the group exhibition *Reshape* at the Cork Printmakers Studio Gallery (2024), Ireland.

Ygor Landarin was born in Uruguaiana, RS, Brazil (1995). His research addresses memories and visual heritages linked to the city where he grew up, developing a poetics that brings art and archaeology closer together. Creating abstractions related to shell mounds and sambaquis (shell mounds), he materially investigates time, permanence, and transformation. Since 2017, he has worked with the artist Brígida Baltar, integrating the conservation, memory, and project continuity team of the Brígida Baltar Institute. A graduate of the Visual Arts School of Parque Lage, he was selected for the Formation and Deformation course and received a scholarship for the Poetic Immersions course at Escola Sem Sítio. Among the recent exhibitions in which he has participated, the group exhibitions Manguezal, at the Centro Cultural Banco do Brasil, Rio de Janeiro (2025), and the Coimbra Biennial: Anozero'24 – The Ghost of Freedom, Portugal (2024) stand out. His works are part of the collection of the Museu de Arte do Rio.